Klarinet Archive - Posting 000638.txt from 1996/10

From: Mike Anderson <mander@-----.ORG>
Subj: Re: accents and alternate fingering
Date: Fri, 25 Oct 1996 21:48:10 -0400

>I just wanted to ask a couple of quick questions. The subject of accents came
>up in my violin lesson today... today I was shown exactly how to draw the bow
>to create the accent. Then my teacher asked me ho wI would teach a student the
>accent. Then she asked how I would teach accents on clarinet... I couldn't
>answer that question. In fact, I don't even remember being shown how an accent
>is to be played on clarinet and how to play them has eluded me. So to make
>this short, how would any of you teach how an accent is to be played on the
>clarinet?
>
>Now for the fingering question. Have you ever used the thumb and second finger
>for throat e instead of the normal thumb and first finger? If you have, in
>what situations?
>
>Thank you to everyone in advance,
>
>Susan Pontow
>fbvb@-----.edu

Susan:

Regarding accents, there are many kinds of accent, requiring many different
approaches. Generally, though, performing them on the clarinet involves
control of the wind. Take the sign >, for example. Often this sign means
to play the beginning of the tone louder than the middle of the tone. To
do this, one either moves the air faster at the beginning of the tone, or
one moves a greater quantity of air at the beginning. But sometimes, the
sign >, especially over a tone of short duration, simply means that the
tone should be louder than those surrounding it, rather than referring to
the shape of the tone. And some composers (Dvorak, for example) seem to
use the > sign much like a tenuto dash.

Like the violinist, the clarinetist must consider the context of the accent
mark, and the conventions used by the composer. Unlike the violinist, the
clarinetist cannot see exactly what she is doing, because the control of
the wind is internal. Accent and dynamics are the heart and soul of music,
and artistic playing cannot be taught with simple formulas, like "how to
play an accent." Generally, though, accents are controlled by the wind.

I would teach accent as a special type of dynamic control, and discuss the
interpretation of >, -, ., sf, szf, fp, and all the other marks *in their
propoer musical contexts* and with dicussion of conventions used by
specific composers, in specific time periods, and in specific regions of
the planet.

I bet this was more than you expected, huh??

Regarding the "thumb and second finger" throat e, I have used a fingering
similar to that at the end of the first movement of the Poulenc Sonata,
where there is a tremolo from c# to e. To play that tremolo, I use the
standard c# fingering, and "tremolo" the index finger of the left hand.
The resulting e fingering is close to the one you describe, except the
third finger is down, and the c# key is open.

Good luck with your studies!

Mike

---
Michael Anderson mander@-----.org
Principal Clarinet Eugene Symphony, Oregon Ballet Theater,
Oregon Bach Festival, Oregon Mozart Players
Arts Administration & Formerly with Eugene Symphony, Eugene Opera,
Grant Proposal Writer Fresno Philharmonic, Portland Baroque Orchestra